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Film --- Portugal --- Motion pictures --- Cinéma --- Cinéma

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Hitchcock, Alfred --- CDL --- 791.471 HITCHCOCK --- Cinema --- Films (Motion pictures) --- Directing --- Cinema films --- Directing (Arts) --- Chitskok, Alphrent, --- Hīchakāk, Al-Frad , --- Hitchcock, Alfred Joseph, --- Hitchcock, Alfred, --- Hsi-chʻü-kʻao-kʻo, --- היצ'קוק, אלפרד, --- هيچکاک، الفرد، --- Hitchcok, Alfred

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Traces the history of the flashback from the silent film era to recent art and Third World cinema, showing it to be an important form of cinematic meaning.

Film --- Flashbacks --- Memory in motion pictures --- Motion pictures --- Flash-back --- Mémoire au cinéma --- Cinéma --- History --- Histoire --- 791.43.01 --- -#SBIB:309H524 --- #SBIB:309H523 --- #SBIB:043.AANKOOP --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Drama --- Narration (Rhetoric) --- Filmologie. Filmtheorie. Esthetica van de film --- Audiovisuele communicatie: semiotiek --- Audiovisuele communicatie: verhaalanalyse --- History and criticism --- Technique --- 791.43.01 Filmologie. Filmtheorie. Esthetica van de film --- Mémoire au cinéma --- Cinéma --- #SBIB:309H524 --- CDL --- 791.43 --- Cinema films

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David Bordwell’s new book is at once a history of film criticism, an analysis of how critics interpret film, and a proposal for an alternative program for film studies. It is an anatomy of film criticism meant to reset the agenda for film scholarship. As such Making Meaning should be a landmark book, a focus for debate from which future film study will evolve. Bordwell systematically maps different strategies for interpreting films and making meaning, illustrating his points with a vast array of examples from Western film criticism. Following an introductory chapter that sets out the terms and scope of the argument, Bordwell goes on to show how critical institutions constrain and contain the very practices they promote, and how the interpretation of texts has become a central preoccupation of the humanities. He gives lucid accounts of the development of film criticism in France, Britain, and the United States since World War II; analyzes this development through two important types of criticism, thematic-explicatory and symptomatic; and shows that both types, usually seen as antithetical, in fact have much in common. These diverse and even warring schools of criticism share conventional, rhetorical, and problem-solving techniques—a point that has broad-ranging implications for the way critics practice their art. The book concludes with a survey of the alternatives to criticism based on interpretation and, finally, with the proposal that a historical poetics of cinema offers the most fruitful framework for film analysis.

791.45.072 --- #SBIB:309H522 --- #SBIB:309H523 --- Motion picture criticism --- Moving-picture criticism --- Filmrecensenten, filmcritici, filmcensuur --- Audiovisuele communicatie: kritiek --- Audiovisuele communicatie: verhaalanalyse --- 791.45.072 Filmrecensenten, filmcritici, filmcensuur --- 791.43 --- #SBIB:309H527 --- Film criticism --- Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- 791.43 Filmkunst. Films. Cinema --- Filmkunst. Films. Cinema --- Audiovisuele communicatie: retoriek --- History and criticism --- Criticism --- Audio-visual materials --- Mass media --- Performing arts --- Evaluation --- Film --- Film criticism. --- Motion pictures. --- Critique cinématographique --- Cinéma --- CDL --- 791.41

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Fiction --- Film --- Film criticism --- Motion pictures and literature --- Motion pictures --- Critique cinématographique --- Cinéma et littérature --- Cinéma --- Philosophy --- Philosophie --- film --- filmtheorie --- film en literatuur --- literatuur --- narratologie --- 791.41 --- Critique cinématographique --- Cinéma et littérature --- Cinéma --- scenario's --- CDL --- Motion pictures - Philosophy